The Three Marys at the Tomb (Fragment) 1311

Editor: So, here we have Duccio’s "The Three Marys at the Tomb (Fragment)," painted in tempera around 1311, part of the Italian Renaissance. It's really striking how he uses color; it makes the figures stand out against that muted background. What strikes you first about this piece? Curator: The careful distribution of mass. Notice the way Duccio articulates the drapery, how its linear patterns move our eyes, creating an echo across each figure. These folds, while stylised, subtly convey volume and form. And consider the placement of each Mary. What sort of relations are established, between each form and with respect to the viewer? Editor: I see what you mean. It’s not just about depicting figures, but about how their placement and even the folds of their robes, guide our eyes around the canvas. Do you think the cracking that comes with the aging of the piece helps, in its own way, with our understanding? Curator: Indeed. These cracks, like a roadmap of time itself, etch across the painting, altering the surface texture and thus transforming its visual qualities. The craquelure provides a framework, a subtle lattice that gives the appearance of even more complex patterns. Editor: That’s a great way to think about it; a "roadmap of time," becoming part of the experience, it shapes our perception of the art. I've gained so much understanding of Duccio’s construction and materiality through our observations. Curator: And I, by considering your engagement with it. A true learning experience for us both.